What is an operatic voice?

One of the largest misconceptions about training an operatic voice is that teachers want students to sound a certain way. Many students fear that they will lose their preconceived vocal identity by working on technique. Yet, in reality, most teachers are simply working to maximize the instrument of any given individual – they want to bring out the best you there can be. We all have different bodies, different larynxes, different skeletal systems and vocal tracts. There is no one-size-fits-all “opera voice”.

Let’s look at some professionals that sing, or sang, at the top of their field and who all have rather unique voices.

Leontyne Price

Leontyne Price is one of America’s greatest treasures. A Mississippi native, she was one of the first African Americans to have an illustrious career at the MET and internationally. In many ways her voice defies classification – she has the gorgeous top of a lyric soprano, but the power and richness one may expect from a mezzo-soprano in the bottom of her voice.

In this particular piece, you can hear how bravely she navigates her different registers, how many choices she makes regarding vocal weight and registration (it sounds almost like she is belting during some of it!) and how brilliant and intact the top of her voice remains. Her voice is truly unique, and while we may learn a great deal about commitment and musicality from her, I would never ask a student to try and imitate her voice! PS: Check out this video of Leontyne singing at 81 years old: https://www.youtube.com/watch?v=PmDXMa91Zi4

Joyce DiDonato

Joyce DiDonato is a premiere mezzo-soprano, born in Kansas, who is internationally acclaimed for her operatic presence, notably in coloratura roles. Give a listen to her voice and you will understand exactly why she is so famous. Able to spit out insanely fast vocal runs with tremendous presence and accuracy all while acting and coordinating with orchestra, she is a force to be reckoned with. Can you imagine this voice emerging from somebody trying to sing like Leontyne Price? No! A wonderful teacher helped Joyce access the full potential of her instrument. And for that, I, and many listeners around the world, am grateful.

Lawrence Brownlee

Another American singer, born in Ohio, Lawrence Brownlee had a musical childhood and first began singing Gospel music at church. His professional operatic debut did not take place until he was 30 years old, when he sang Almaviva in Rossini’s The Barber of Seville with Virginia opera. In 2007 he made his MET debut. Since then he has sung at Vienna State Opera, Madrid’s Teatro Real, and La Scala, in addition to completing numerous performances at the Metropolitan Opera.

Brownlee’s voice is not a particularly large, or dramatic, instrument, but it has a beautiful timbre, easy access to the top of his voice (he is particularly known for his notes above “tenor high C”), agility, and all-around technical facility. It has a rounded tone that most people find stays sweet all the way up through the topmost portions of his range. Even though he is a tenor, in no way does his voice resemble a titan like Luciano Pavarotti - and I would have it no other way.

Nicolae Herlea

Romanian baritone Nicolae Herlea, was one of those voices that just didn’t quit. What many would call a Verdi baritone, Herlea possessed a voice of incredible proportions – incredibly strong and rounded, yet never lacking in overtones. Imagine a bass-baritone singing in the range of a tenor – that should give you an idea of why imitating this instrument could lead to problems in a young singer! It must have been quite the process to guide an instrument of this quality to its optimum function. No matter how large his voice was, Herlea sang without pushing it. This was the logical conclusion to his particular instrument. Listen to other baritones and you will hear exactly what I mean.